Hot Sugar Band - Are You in Shape

Styles: Jazz, Swing, Big Band
Year: 2014
File: MP3@320K/s
Time: 59:35
Size: 138,5 MB
Art: Front

(3:14) 1. Wham!!!
(2:36) 2. Beethoven Riffs On
(4:01) 3. Sugar
(3:31) 4. I Can't Believe That You Are in Love with Me
(3:50) 5. Bouncin Around
(3:20) 6. Blues Petite
(3:08) 7. At the Jimmy's Bar
(3:51) 8. Est St Louis Toodle-Oo
(3:29) 9. Cavalerie
(3:02) 10. Mabel
(3:00) 11. Savoy
(2:47) 12. Zooming at the Zombie
(3:41) 13. How Deep Is the Ocean
(3:03) 14. Do You Know What It Means to Miss New Orleans
(2:40) 15. Flip Lid
(3:18) 16. St James Infirmary
(6:55) 17. I Can't Dance

Based in Paris, and featuring some of the finest musicians of the french swing and jazz scene, the band has performed all around the world, including Sweden, Vietnam, Hungary, Lithuania, Canada, Spain, South Korea, China, Italy, Netherlands ... among many others !!

Its unique, highly recognisable sound, at the crossing of John Kirby's sextet, Django Reinhardt big band works, and Count Basie and Duke Ellington's classics, in addition to the band's endless energy on stage, have contributed to make it one of the most-demanded bands in the world of swing, with 300+ shows over the 5 last years, 4,5M streams, and more than 14.000.000 views on youtube. https://www.hotsugarband.fr/the-band

Are You in Shape

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Joel Paterson - Down At The Depot

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 43:01
Size: 99,4 MB
Art: Front

(4:07)  1. Down At The Depot
(2:54)  2. You Got To Die
(2:35)  3. Easy Rider
(3:03)  4. Jailhouse Rag
(4:58)  5. That's No Way To Get Along
(3:07)  6. Guitar Chimes
(2:57)  7. Buck Dancer's Choice
(2:53)  8. Keep On Tryin'
(2:34)  9. Meet Me In The Bottom
(2:43) 10. Hard Road Blues
(3:04) 11. Cannonball Rag
(3:00) 12. Cincinnati Flow Rag
(2:02) 13. Blood Red River Blues
(2:57) 14. Keep Your Lamp Trimmed And Burning

“Joel Paterson defines who the ideal session guy should be: selfless, musical, and born with impeccably good taste. His sympathetic hollowbody makes the jazz, country, rockabilly or swing he’s backing come alive.” ~ Timeout Chicago

My life is dedicated to playing guitar and exploring the sound and history of the roots music I love, including blues, jazz, country, western swing, and whatever else you want to call it. I live in Chicago, and I’m lucky to be surrounded by some of the finest musicians you will find anywhere. Rather than trying to have one band to brand and market, I enjoy playing in many projects, and putting together different lineups to play a variety of musical styles to keep things fresh and to have the right sound to fit any occasion.  It’s always difficult to keep people updated with everything I’m up to (and it’s hard for me to keep track of it all), but for info on the projects that I'm currently working on, check out the "Bands" section of my website. And check out the "Recordings" section of my site for ordering info on albums that are still in print and available for purchase. https://www.joelpaterson.com/bio

Down At The Depot

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Bill Evans - Everybody Still Digs Bill Evans Disc 1, 2, 3, 4, 5

Album: Everybody Still Digs Bill Evans Disc 1
Styles: Piano Jazz
File: MP3@320K/s
Time: 76:16
Size: 175,0 MB
Art: Front

(4:02) 1. Five
(4:13) 2. Woody'N You (Take 2)
(5:53) 3. Young And Foolish
(5:59) 4. Autumn Leaves
(3:35) 5. How Deep Is The Ocean
(5:54) 6. Sweet And Lovely
(5:24) 7. Blue In Green
(4:58) 8. How My Heart Sings
(5:47) 9. Re: Person I Knew
(4:57) 10. My Foolish Heart (Live At The Village Vanguard / 1961)
(6:57) 11. Waltz For Debby (Live At The Village Vanguard / 1961)
(6:10) 12. Gloria's Step (Live At The Village Vanguard / 1961)
(6:25) 13. My Man's Gone Now (Live At The Village Vanguard / 1961)
(5:54) 14. Swedish Pastry (Live At Shelly's Manne-Hole / 1963)

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Album: Everybody Still Digs Bill Evans Disc 2
Time: 73:33
Size: 168,7 MB

(4:50) 1. Israel
(6:05) 2. The Peacocks
(5:54) 3. I Believe In You (feat.Shelly Manne)
(4:26) 4. Santa Claus Is Coming To Town
(3:30) 5. I Will Say Goodbye
(5:51) 6. Turn Out The Stars (Live At The Village Vanguard, 1967)
(3:37) 7. Walkin' Up (Live At The Montreux Jazz Festival, 1968)
(5:44) 8. Very Early (Live At Camp Fortune / 1974)
(3:48) 9. Minha (All Mine) (Live At The Wisconsin Union Theater / 1976)
(9:17) 10. My Romance (Live At L'Espace Cardin, Paris / 1979)
(7:33) 11. Days Of Wine And Roses (Live At The Village Vanguard / 1980)
(5:31) 12. The Touch Of Your Lips (Live At The Keystone Korner / 1980)
(7:20) 13. Someday My Prince Will Come (Live At The Keystone Korner / 1980)

Everybody Still Digs Bill Evans Disc 1, Disc 2

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Album: Everybody Still Digs Bill Evans Disc 3
Time: 67:34
Size: 155,0 MB

( 6:43) 1. Peace Piece
(10:40) 2. Danny Boy
( 7:12) 3. Make Someone Happy
( 5:07) 4. A Time For Love
( 1:37) 5. Waltz For Debby
( 2:20) 6. The Bad And The Beautiful
( 5:39) 7. N.Y.C.'s No Lark
( 4:56) 8. Emily
( 4:30) 9. Remembering The Rain
( 7:04) 10. I Loves You Porgy (Live At L'Espace Cardin / 1979)
( 4:52) 11. Letter To Evan (Live At L'Espace Cardin / 1979)
( 6:48) 12. Nardis (Live At The Keystone Korner / 1980)

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Album: Everybody Still Digs Bill Evans Disc 4
Time: 77:13
Size: 177,1 MB

(5:23) 1. My Funny Valentine
(5:37) 2. A Face Without A Name
(3:57) 3. The Touch Of Your Lips (Vocal Version)
(3:48) 4. I Love You
(6:37) 5. Up With The Lark (Live At L'Espace Cardin / 1979)
(6:29) 6. Funkallero (Live In Antwerp / 1974)
(5:57) 7. Who Cares?
(6:21) 8. Body And Soul
(7:04) 9. You And The Night And The Music
(6:03) 10. Time Remembered
(6:07) 11. Night And Day
(7:34) 12. A Child Is Born
(6:09) 13. Peri's Scope

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Album: Everybody Still Digs Bill Evans Disc 5
Time: 60:36
Size: 139,0 MB

( 6:54) 1. Sareen Jurer (Live At Oil Can Harry's / 1975)
( 7:04) 2. Sugar Plum (Live At Oil Can Harry's / 1975)
( 7:43) 3. The Two Lonely People (Live At Oil Can Harry's / 1975)
( 5:10) 4. T.T.T. (Twelve Tone Tune) (Live At Oil Can Harry's / 1975)
( 5:19) 5. Quiet Now (Live At Oil Can Harry's / 1975)
( 6:20) 6. Up With The Lark (Live At Oil Can Harry's / 1975)
( 5:53) 7. How Deep Is The Ocean (Live At Oil Can Harry's / 1975)
( 5:26) 8. Blue Serge (Live At Oil Can Harry's / 1975)
(10:44) 9. Nardis (Live At Oil Can Harry's / 1975)

Only occasionally do classy looking limited-edition box sets prove to be a triumph of style and substance. Too often they are undermined by cheapskate packaging, over elaborate design, poorly written and researched booklets, inadequate session details or, most egregiously, bizarre (in a bad way) track selections. So it is a more than pleasant surprise when something comes along which succeeds, and succeeds magnificently, on all those fronts. Such an item is Concord Records' Craft imprint's Everybody Still Digs Bill Evans: A Career Retrospective (1956—1980).

The 5-CD set comes in a seriously heavyweight, hard bound, velour wrapped, 12" x 10" portfolio style book with a foil-stamped cover. Inside are the discs and a stitched-in 48-page book. There are some great photographs, but the main event is an essay by the Chicago-based writer and Bill Evans connoisseur Neil Tesser. That is followed by complete session details. The whole shebang was produced Nick Phillips (check the YouTube clip below). The music itself has been newly remastered by Paul Blakemore, and immaculately so: the audio quality is off-the-scale superb.

The first four discs total playing time just under five hours cherry pick some of the greatest work Evans released on Riverside, Milestone, Verve, Warner Bros., Fantasy, Elektra/Musician, The Jazz Alliance, United Artists and Nova Discs. Discs One and Two (Trialogues Vol. 1 and Vol. 2) cover his trio recordings from 1956 to 1980. Disc Three (Monologues) surveys his solo recordings from 1958 to 1980. Disc Four (Dialogues & Confluences) takes in some of his co-headlining and sideperson work from 1962 to 1979. It is here that the only significant omission occurs: there is nothing from Miles Davis' Kind Of Blue (Columbia, 1959). Licensing difficulties, presumably.

Disc Five is the icing on the cake. It contains a recently discovered, previously unreleased, live recording of an hour-long performance Evans gave at the long since defunct Oil Can Harry's, Vancouver in June 1975, with bassist Eddie Gomez and drummer Eliot Zigmund. The recording appears to have been broadcast once on local radio and then put away in the station's tape archive. The performance contains no previously unrecorded material but most of it was in 1975 quite recently arrived in the set list. Evans had first recorded the opener, Earl Zindars' "Sareen Jurer," in 1974; his own "Sugar Plum," "The Two Lonely People" and "T.T.T." in 1971; and Jerome Kern's "Up With The Lark" in 1972. The other four tunes were familiar Evans fare: Denny Zeitlin's "Quiet Now," Irving Berlin's "How Deep Is The Ocean," Mercer Ellington's "Blue Serge" and, at almost eleven minutes the longest track, Miles Davis' "Nardis," the closer. The group is in terrific form and the sound quality is excellent (take a bow audio restorers Jamie Howarth, John Chester and the aforementioned Paul Blakemore). The performance is also being released on two 180-gram vinyl LPs as On A Friday Evening.Listening to the complete box set, one is reminded that Evans reached his peak of perfection, in a trio format anyway, between 1959 and 1961 with bassist Scott LaFaro and drummer Paul Motian. But that peak was so lofty that even Evans' lower slopes are heavenly and this well compiled collection contains no lower slopes, only peaks and upper slopes.~ Chris May https://www.allaboutjazz.com/everybody-still-digs-bill-evans-a-career-retrospective-1956-1980-bill-evans-craft-recordings

Personnel: Bill Evans: piano; Teddy Kotick: bass; Paul Chambers: bass, acoustic; Sam Jones: bass; Scott LaFaro: bass; Chuck Israels: bass, acoustic; Eddie Gomez: bass; Gary Peacock: bass, acoustic; Marc Johnson: bass; Paul Motian: drums; Philly Joe Jones: drums; Larry Bunker: drums; Shelly Manne: drums; Jack DeJohnette: drums; Marty Morell: drums; Joe La Barbera: drums.

Additional Instrumentation: Jim Hall: guitar; Eliot Zigmund: drums; Tony Bennett: vocal; Marian McPartland; piano; Stan Getz: tenor saxophone; Cannonball Adderley: alto saxophone; Percy Heath: bass; Connie Kay: drums; Freddie Hubbard: trumpet; Zoot Sims: tenor saxophone; Ron Carter: bass; Lee Konitz: alto saxophone; Warne Marsh: tenor saxophone; Harold Land: tenor saxophone; Kenny Burrell: guitar; Ray Brown: bass; Tom Harrell: trumpet; Larry Schneider: tenor saxophone.

Everybody Still Digs Bill Evans Disc 3,4,5

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Carlo Uboldi Trio Guest Scott Hamilton - Live At Jazz Appeal

Styles: Piano And Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 62:39
Size: 144,0 MB
Art: Front + Back

(10:22)  1. Tangerine
(12:09)  2. The Way You Look Tonight
(11:22)  3. Have You Met Miss Jones
( 4:39)  4. Sweet Georgia Brown
( 5:35)  5. The Shadow Of Your Smile
( 9:51)  6. Besame Mucho
( 8:37)  7. Mack The Knife

Born in Como in the 1996 (but of italy-swiss nazionality), Carlo Uboldi begin studying music at 6 years, thanks to a keen-family on music. In 1983 and 1984 he partecipates to the different festivals of the jazz in Como. Infact he points out his swing-phrasing and since then he starts his professional carreer,playing with different and various swing and be-bop groups in Italy and abroad. At the same time he teaches in the different schools in Milan and Como (Italy). In the meantime he continue studying with the teacher "Ettore Righello. In 1992 he works with the Fritz Hartschuh's quintet (together with the Paolo Tomelleri) in Germany, with whom he takes part in the Cruise "Jazz at the Sea" with the name-groupe "swinging Italy", during which Carlo Uboldi has the opportunity to play with the best American-musicians. In swiss he knows some of the best and important local-musicians (Oliviero Giovannoni and Danilo Moccia), with whom he plays again in various formation now. For 1996 (till to-day) he has been taking part in the Gianni Coscia's quartet "A Kramer piaceva cosi"(together with the musicians such as Luciano Milanese e Ellade Bandini) and for 2000 he has been working with the quintet of the actress-singer Elisabetta De Palo (with the project "omaggio a Natalino Otto" who, together also with the musician Marco Ratti. They have recorded CD and till to-day plays in different theatres and festivals in Italy.

Today he works such as "free lance" in various and different jazz-groups and he is the leader, with Marco Castiglioni, of the sextet "DUDECOM " (with musicians such as Emilio Soana, Francesco Licitra, Stefano Dall'Ora, Marco Bianchi), with whom he performs his own swing/be-pop compositions. However, the Trio (together with the musician such as Dall'Ora (bass), e Castiglioni-(drums) is the best and test formation of Uboldi. This Trio is full of swing and they own (among the three of them) an ritmic – harmonic agreement that only little groups can boast of this characteristic. For an year he has been working with Luca Calabrese with whom interacts in a "duo" that presents standard and original-pieces. In his career he has worked also with Rudy Migliardi, Bruno de Filippi, Hengel Gualdi, Glauco Masetti, Stefano Bagnoli, and played also at the "New Orleans festival of Ascona (ch); jazz-festival of Sori in Italy; Conservatorium G.Verdi of Milan; B.Goodman story of Bergamo (Italy); "quelli che il jazz" of Milan; jazz club of Lucerna (ch), Rheinfelden(ch),Emmenbrucke(ch),Bulach(ch);conservatorium of Zagabria (J); jazzhaus of Freiburg(D); jazztone of Lorrach(ch);cafe cult, jazz keller e Alte Oper di Francoforte/Frankfurt (D); Rive jazzy IF Nyon (ch); rathaussaal of Karlstadt (D). Today Carlo Uboldi is esteemed as one of the best pianist o and he is also the nearest at the "Peterson-style". Contrarily to the other imitator-instrumentalists, he succeeds to propose himself with a particolar fantasy and volcanic-sensibility with traditional-passages and sometime with a refined phrasing with points of the vanguard. http://www.jazzitalia.net/public/blogs/24/carlouboldi_eng.asp#.V6ZLNzXQua4

Personnel:  Carlo Uboldi (Piano); Luciano Milanese (Bass); Marco Castiglioni (Drums); Scott Hamilton (Tenor sax).

Live At Jazz Appeal

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John McLaughlin - Liberation Time

Styles: Guitar Jazz
File: MP3@320K/s
Time: 36:59
Size: 85,1 MB
Art: Front

(5:21) 1. As the Spirit Sings
(5:06) 2. Singing Our Secrets
(7:13) 3. Lockdown Blues
(2:28) 4. Mila Repa
(7:22) 5. Right Here, Right Now, Right On
(1:37) 6. Shade of Blue
(7:49) 7. Liberation Time

Perhaps the biggest success of Liberation Time is that its title feels sincere and not ironic. Such a sentiment could have easily come out as a cute bit of wishful thinking under the restrictions of pandemic life. Being who he is, though, John McLaughlin inevitably finds the value and positivity even in this strange state of affairs. "The wonderful thing about music is that you put the headphones on and you are all in the same room," he says in regards to the newly-standard modus operandi of virtual conference calls. Even if that's not literally true, the chemistry among this crew of friends is thankfully undimmed by distance.

Of course the closeness is partly due to the long working history of the 4th Dimension band of Gary Husband, Etienne Mbappe and Ranjit Barot. As a silver lining to the circumstances, though, McLaughlin takes advantage of the remote-recording method to include a handful of collaborators who might not have been available otherwise. His romping guitar and Husband's keys are joined by a different rhythm section on the cooking opener "As the Spirit Sings"; Julian Siegel's sax adds some extra bebop flavor to the intricate rock-fusion jam of "Right Here, Right Now, Right On" while an entirely different backing group flies through the quick changes.

Alongside the core quartet's jamming in spots such as the jaunty "Singing Our Secrets," or the too-bright-for-its-name "Lockdown Blues" (spiced up with some playful Indian konokol scatting while they're at it), the guest tracks manage to feel all of a piece with the overall program. The leader's uplifting spirit unifies the music and the cast as much as his voice on the guitar does. His fleet juicy fretwork is inimitable as ever, often still tearing through these fun licks at whiplash speed, surprisingly complemented by a couple of contemplative interludes featuring him at the piano another addition that probably would not have happened in what we used to call ordinary circumstances. Even if it can't quite hit the incendiary highs of Live at Ronnie Scott's (Abstract Logix, 2017) or John McLaughlin & Jimmy Herring—Live in San Francisco (Abstract Logix, 2018), this is a sharp-cooking session radiant with liberating energy and hope for the future.By Geno Thackara https://www.allaboutjazz.com/liberation-time-john-mclaughlin-abstract-logix

Personel: John McLaughlin: guitar; Gary Husband: drums; Ranjit Barot: drums; Etienne Mbappe: bass; Roger Rossignol: piano; Jean Michel Aublette: bass; Vinnie Colaiuta: drums; Nicolas Viccaro: drums; Julian Siegel: saxophone, tenor; Sam Burgess: bass; Jérôme Regard: bass; Oz Ezzeldin: piano.

Liberation Time

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George Kahn - ...Compared To What

Styles: Straight-ahead/Mainstream
Year: 2004
File: MP3@320K/s
Time: 62:55
Size: 144,5 MB
Art: Front

(8:23)  1. On Green Dolphin Street
(4:56)  2. Mercedes the Lady
(5:26)  3. Compared to What
(7:06)  4. 5 to Get Ready 10 to Go
(6:41)  5. Too Much Sax
(6:04)  6. Woodstock
(5:15)  7. Soul Sause
(5:58)  8. Gnomesayin'
(7:14)  9. Alice in Wonderland
(5:48) 10. The Hero's Journey

This crisp, well-crafted, straight-ahead (mostly) set opens auspiciously, with tenor saxophonist Justo Almario wandering into the studio blowing solo, wailing, strolling around seemingly aimlessly; but you can feel there's a method to his melodic madness. About a minute later the bass throbs in behind him with repeated two note statements, followed by the drums, and finally the leader, George Kahn, appears, and the tune gels into the familiar "On Green Dolphin Street," in a finely focused up-tempo mode.

Kahn says playing a solo in front of this band—tenor and trumpet in front of a rhythm section, mostly is like driving a well-tuned Ferrari, and that's a pretty apt comparison for this sound: clean, synchronized, and lightly lubricated for an effortless forward momentum provided by the drive train/rhythm section.

"Mercedes the Lady" introduces Latin sounds. Kahn is adept in an array of styles here. "Compared to What" proves itself a funkier, harder-driving version of the Les McCann/Eddie Harris hit from '68, featuring vocalist Courtney Lemmon, whose soulful take on the lyrics show them to be as relevant in these turbulent times as they were in the late sixties. "5 to Get Ready 10 to Go" has a Kind of Blue -ish feel, with some marvelous mute work by trumpeter John Fumo.

Saxophonist Eric Marienthal sits in on two tunes. His tone, sharp and stinging, always brings a modern edge to the sound. I've loved his playing ever since I first heard it in Chick Corea's Elektric Band's Inside Out (GRP, '90); and he doesn't disappoint here. He just cooks, with a clean, high heat on "Too Much Sax," adding some fire to the title tune as well.

An excellent set, with different styles deftly mixed and held together by the stellar rhythm team behind a bunch of spirited blowing. The title tune alone is worth the price of admission, but then so are all the others. Kahn, piano; Alex Acuna, drums and percussion; and Brian Bromberg, bass: they've got to put out a trio set sometime. ~ Dan Mcclenaghan   

http://www.allaboutjazz.com/php/article.php?id=15777#.Ur9FAbTJI0g

Personnel: George Kahn, piano; Alex Acuna, drums and percussion; Justo Almario,tenor and soprano saxophones; Brian Bromberg, bass; John Fumo, trumpet, flugelhorn; with guests Eric Marienthal, tenor and alto saxophones; Courtney Lemmon, vocal on "Compared to What";  Ira Ingler, guitar

...Compared To What

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Quentin Angus - Perception

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 48:21
Size: 111,3 MB
Art: Front

(5:37) 1. Particular,Peculiar
(6:22) 2. Perception
(5:28) 3. Nardis
(7:16) 4. Red and Yellow
(4:26) 5. Chernobyl
(5:17) 6. Restoration
(7:09) 7. Den Haag
(6:42) 8. Bounce

Australia boasts an embarrassment of great jazz musicians, an increasing number of whom have made their way to New York in recent years to broaden their horizons. Guitarist Quentin Angus is one such notable Aussie talent. Here Angus follows up his promising debut, Retrieval Structure (Self Produced, 2011) with another assured work that highlights his tasteful virtuosity and growing strengths as a composer. Angus effectively fronts two quartets, with drummer Kenneth Salters the anchor throughout. Stylistically, the music shares a similar contemporary straight-ahead vibe as Angus' debut, though the employment of a string quintet marks a significant progression in songwriting terms. Angus and alto saxophonist Will Vinson form an exciting front-line, weaving tight unison lines on "Particular, Peculiar" before the guitarist breaks formation for a solo flight that scores moderately for acrobatics but high marks for artistic grace. Angus is a melodic musician, both with pen and when soloing, and there's more than a hint of the Pat Metheny Unity Band's influence in his approach to composition.

"Perception" follows a similar pattern to "Particular, Peculiar," though shifts back and forth between soft and more pronounced rhythmic passages. Shai Maestro's piano paves the way for a somber guitar and saxophone motif, with bassist Linda May Han Oh another Aussie who's blossomed in New York and Salters lending shadowy support. A dynamic piano riff and Salter's dry and snappy Bill Bruford-esque touch inject some voltage into the piece, with piano, saxophone bass and guitar unified on the striking melody. Oh executes a grooving solo, which leads the quintet back to the melody and a stirring conclusion. The sole cover is trumpeter Miles Davis's "Nardis," a tune Davis never recorded but which was a staple of pianist Bill Evans's concerts for many years. Pianist Matthew Sheens-another New York-based Aussie exile and bassist Or Bareket follow Angus between, dark, rock-oriented syncopation and more lyrical passages. Angus stretches out, sculpting a wonderfully fluid solo that mixes and matches sustained notes and confidently structured, chattering phrases. Vocalist Jo Lawry's wordless vocal forms the centerpiece of a union with Angus and Vinson on the elegant "Red and Yellow," with attractive, laid back soloing from the latter duo and Maestro.

Sheen's beautiful composition "Chernobyl" stems from piano and Chad Lefkowitz-Brown's soprano saxophone intro, and features extended, articulate solos from Angus and Lefkowitz-Brown; in between, layers of dual violins, viola, cello and additional bass bob in and out of the narrative to striking affect. The string quintet enjoys greater protagonism on the bright, optimistic "Den Haag," setting the tone before Angus carves out a measured, commanding run. Sheen likewise impresses, supported and coaxed by the effervescent Salters. Rumbling mallets, alto sax and piano introduce "Restoration," a lithe tune that moves quickly through the gears. Vinson takes the bragging rights in the solos department but it's the thrilling all-hands-on-deck finale, with its punchy motif and spiky tempo that wins the day surely a barnstorming live number. The equally dynamic "Bounce" features further hugely satisfying solos from Angus and Vinson, over a crisp, driving rhythm. Angus' compositions boast the sophistication and nous of a veteran yet sizzle with youthful vitality. There's not a weak track on the collection, and fine playing all round, not least from Angus himself. Clearly a name to watch out for.~Ian Patterson https://www.allaboutjazz.com/perception-quentin-angus-self-produced-review-by-ian-patterson.php

Personnel: Quentin Angus: guitar; Jo Lawry: voice (4); Will vinson: alto saxophone (1, 2, 4, 6, 8); Chad Lefkowitz-Brown: soprano saxophone (5);Shai Maestro: piano (1, 2,4, 6, 8); Matthew Sheens: piano (3, 5, 7); Linda Oh: bass (1, 2, 4, 6, 8); Or Bareket: bass (3, 5, 7); Kenneth Salters: drums; Yanni Burton: bass (5, 7); Sarah Koenig- Plonskier: violin (5, 7); Lavina Pavlish: violin (5, 7); Jack Stulz: viola (5, 7); Leana Rutt: cello (5, 7).

Perception

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Luis Disla - The Prophecy

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 47:32
Size: 109,8 MB
Art: Front

(0:34) 1. Intro
(4:00) 2. Down for the Count
(4:45) 3. Angelina
(4:53) 4. Naima's Way
(4:47) 5. Reasons
(4:29) 6. Nucleus
(4:46) 7. Brigette
(4:40) 8. JeDu
(4:33) 9. Stick to It
(5:12) 10. You Don't Know Me
(4:03) 11. The Prophecy
(0:49) 12. Coda

One quick way to verify a musician's credentials is to check out who plays on his debut record. Respected reed man Luis Disla obviously called in a few markers for The Prophecy , assembling an all-star lineup and achieving a glossy production in the process. No stranger to the studio with numerous sessions accounted for, Disla is prodigious on alto, tenor, soprano and baritone saxophones and relies on his expertise on all of them. He chooses the perfect musicians for this contemporary Latin jazz project in bassist Abraham Laboriel, drummer Steve Gadd and premier percussionist Alex Acuña. Though a polished studio recording, the record opens and ends with a novel approach, simulating what Disla's band might be like in a club setting complete with background noise, bar banter, and musician introductions at the end of the "set."

There is a well thought-out sense of original compositions offering a wide range of directions and tempos, from smooth jazz and grinding salsa to funk and ballads, with two interesting cover choices: Earth, Wind & Fire's "Reason," and Disla's personal tribute to Ray Charles, "You Don't Know Me," the surprise number in the package that really works and is given the star treatment it deserves. Nestor Torres's charanga flute is featured on "Naima's Way," a sizzling mambo number with pianist Jorge Luis Sosa depicting a genuine montuno. Sosa also demonstrates his versatility by switching to a Hammond organ sound on the bluesy "Stick to It." Disla displays not only great musicianship and tone, but also a spatial approach in his soloing which blends well with the other players. In picking top accompanists, he wisely lets them stretch out and offer their individual talents to the mix. The Prophecy is a record that was a long time coming and Disla has been meticulous in his production, proving it was well worth the wait.~ James Nadal https://www.allaboutjazz.com/the-prophecy-luis-disla-self-produced-review-by-james-nadal.php

Personnel: Luis Disla: alto, tenor, soprano, baritone saxophones; Jorge Luis Sosa: keyboards; Leo Quintero : guitar; Abraham Laboriel: bass; Alex Acuña: percussion; Steve Gadd: drums; Julio Diaz: trumpet; Jorge Dobal: trombone; Richard Bravo: additional percussion; Paul Hoyle: vocal (5); Nestor Torres: flute (4); Tito Puente Jr.: timbales (2).

The Prophecy

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Jimmy Forrest - Out Of The Forrest

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 37:16
Size: 85,5 MB
Art: Front

(4:09)  1. Bolo Blues
(5:08)  2. I Cried for You (Now It's Your Turn to Cry over Me)
(4:23)  3. I've Got a Right to Cry
(4:05)  4. This Can't Be Love
(5:17)  5. By the River Sainte Marie
(5:12)  6. Yesterdays
(4:04)  7. Crash Program
(4:54)  8. That's All

This CD reissue is an excellent example of tenor saxophonist Jimmy Forrest in a soulful but fairly straight-ahead setting. Accompanied by pianist Joe Zawinul, bassist Tommy Potter and drummer Clarence Johnston, Forrest revives his "Bolo Blues," and plays his basic "Crash Program," and otherwise sticks to melodic standards. His highly expressive powers and ability to say a lot with a few notes is very much in evidence on this excellent set. 

~ Scott Yanow  http://www.allmusic.com/album/out-of-the-forrest-mw0000234092

Personnel: Jimmy Forrest (tenor saxophone); Joe Zawinul (piano); Tommy Potter (bass); Clarence Johnston (drums).

Out Of The Forrest

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Hilary Kole - Sophisticated Lady

Styles: Vocal
File: MP3@320K/s
Time: 58:00
Size: 133,8 MB
Art: Front

(4:26) 1. Sophisticated Lady
(5:47) 2. Old Devil Moon
(4:09) 3. The Best Thing for You
(4:56) 4. Somebody Loves Me
(5:12) 5. Make Me Rainbows
(5:46) 6. Love Dance
(5:02) 7. In a Sentimental Mood
(6:01) 8. Let's Face the Music and Dance
(5:52) 9. Round Midnight
(5:08) 10. It's You or No One
(5:37) 11. The Sweetest Sounds

Consummate vocalist and New York City jazz staple Hilary Kole is thrilled to announce the release of Sophisticated Lady. Adorned by Kole’s soulful vocal sensibilities and a stellar band of first-rate instrumentalists, Kole’s latest release is a collection of mature, nuanced renditions of jazz classics which retain a spirit both heartfelt and adventurous. For nearly two decades, Kole has been heralded for her intimate piano and vocal performances, themed shows with her jazz ensemble, special concert hall symphony performances and critically acclaimed recordings showcasing her compositional prowess. With Sophisticated Lady, Kole lends her voice to 11 archetypal songs from the jazz idiom. Accompanying Kole on this auspicious release is her longtime rhythm section made up of guitarist John Hart, pianist Adam Birnbaum, bassist Paul Gill, drummer Aaron Kimmel, vibraphonist Tom Beckham and woodwinds player Chris Byars who created the thoughtful arrangements for the vast majority of the album’s tracks. Sophisticated Lady will be available worldwide on July 23, 2021, following a special release in Japan on June 25th, 2021 via Japan Victor.

The celebrated lady of song launched her performing career as the youngest singer ever to grace the stage at NYC’s legendary Rainbow Room. For a year and a half, Kole performed 6 nights per week at the storied venue, cutting her teeth as a working musician alongside a slew of great players. Kole notes “When I was contemplating making a new record, I thought back to my days as a young singer at the Rainbow Room. Most of the standards I sang then were the songs one could always call with a pick-up band. Every musician at the time knew them. As I transitioned into more headline work and the worlds of jazz and cabaret, it became clear to me that it was important not to sing the ‘same songs’ that everybody knew. Nevertheless, the idea of going back to the basics has been calling to me lately. They are standards for a reason, after all. So, I decided to do a record of classic standards – songs I might have done at the Rainbow Room 20 years ago, or my father (acclaimed Broadway singer Robert Kole) might have done on his club dates at historic venues such as the Copa or the Maisonette Room 60 years ago.” With a refined musical sensibility, Kole returned to the very songs that marked her musical upbringing.

Kole decided that she wanted to create a tapestry of sound that made this record different and unique even in its familiarity. Long a fan of Chris Byars’ playing and arranging, Kole knew that Byars would be up to the task. “When I realized I wanted a classic but unique sound,” Kole exclaimed, “I immediately thought of him and I’m so glad I did. What Chris came up with is dark and beautiful and challenging not your average small group charts, and just what I wanted.” The album begins with the title track “Sophisticated Lady”. The unhurried swing is propelled forward by the rhythmic anticipation created by Kimmel’s brushes, the flawlessly executed hits orchestrated by Byars, and Kole’s passionate refrains. A masterclass in dynamics, the melody gives way to a tasteful solo by Byars and soli section from the instrumentalists. The bright-tempoed “The Best Thing For You (Would Be Me)” is delivered here with an unrivaled zeal and exuberance. The rendition showcases Kole’s immense melodic facility while scatting as well as wonderful solo sections from the full ensemble.

“Somebody Loves Me” and “Make Me Rainbows” provide stellar examples of Byars using the full breadth of the instrumentation to compliment Kole’s soaring vocals. Hart’s guitar and Beckham’s vibes add a softness and a fullness to the soundscape, while Birnbaum’s comping provides the perfect harmonic and rhythmic underpinnings to Kole’s voice, locking impeccably with Gill’s bass and Kimmel’s drums. Kole notes “Aaron Kimmel’s sense of swing and restraint gives the record its retro feel – he is a drummer from another time.” Kole adds new dimensions to Ellington’s classic “In A Sentimental Mood”, and “‘Round Midnight”, melding notes of wistfulness and resolve. “Round Midnight” offers a shift of dynamic with a pared-down instrumentation. Kole’s striking delivery of this Thelonious Monk-penned standard is complimented by guitarist John Hart’s masterful harmonic support, harkening back to the classic guitar-vocal duo of Ella Fitzgerald and Joe Pass in both interplay and timbre. The ensemble concludes the album by exploring a cleverly-orchestrated and musically-demanding rendition of Richard Rodgers’ “The Sweetest Sounds” featuring gorgeous soli performances from Byars and Beckham and soulful improvisation from Hart, Birnbaum and Kole.

Kole’s highly-anticipated Sophisticated Lady follows several critically-acclaimed releases by the renowned vocalist including 2014’s A Self Portrait which received 5 stars from The Associated Press and glowing reviews from USA Today, JazzTimes and Downbeat Jazz Magazine. 2016 saw the release of Hilary Kole: The Judy Garland Project which received high praise from Downbeat Jazz Magazine and JazzTimes as well theater publications such as Talkin’ Broadway and CabaretScenes. Sophisticated Lady goes far to cement Kole’s stature as a preeminent interpreter of song within the jazz idiom. https://lydialiebman.com/index.php/2021/06/25/new-release-hilary-koles-sophisticated-lady-is-out-july-23-2021/

Sophisticated Lady

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Deanne Matley - Stealin' Blue (Live at Cafe Koi)

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 57:19
Size: 132,3 MB
Art: Front

(5:47) 1. And So It Goes
(5:06) 2. When Sunny Gets Blue
(4:37) 3. Nothing Compares 2 U
(5:41) 4. Without A Song
(4:34) 5. Almost in Love
(3:36) 6. If
(2:52) 7. When I Fall In Love
(4:42) 8. Stealin' Blue
(5:34) 9. My Funny Valentine
(2:42) 10. Stormy Weather
(7:08) 11. True Colors
(4:53) 12. Wonderwall

Deanne’s debut CD, Stealin’ Blue, is a tasteful mix of Jazz, and Pop favorites performed live in an intimate vocal/piano duo setting. Deanne, a native Calgarian, has captured the essence of her riveting performances on this album which features twelve distinctive tracks. Known for her emotional, sultry delivery and a pure tone that envelopes the listener in a warm embrace, Deanne’s sensibilities lie in her simple yet elegant style. Her approach is straight from the heart, a heart that is warm, vulnerable and genuine. Artists such as Frank Sinatra, Sue Raney, Coldplay, Hawksley Workman, Rufus Wainwright, Bette Midler and many others act as influences.

The powerful energy and immediacy she receives from performing before a live audience fuels her drive as a musician. Her debut album is that much more bold, electric with feeling, and honest because of her choice to record Stealin’ Blue live. Stealin’ Blue is an invitation to a quiet moment of magic.“I opted for songs with melodies that challenged my emotional boundaries and pushed me to explore the soul.” A quote from Deanne describing the musical mix on the album infused with Jazz, Torch, Blues, Pop and Gospel styles.

There are many standout tracks on this recording, one of which is “My Funny Valentine”. It is given an almost intensely cinematic reading. Deanne starts off with a blank vocal tone that has rather intense overtones for the verse. At the chorus, a more suave, sophisticated voice is heard as a counterpoint to the opening character. The piano solo serves as a bridge, a resting place between this vocal conversation. The song ends; a screaming whisper.

Another is the Cyndi Lauper ballad “True Colors”. Drawing on his extensive classical and jazz training, this version starts with an extended piano solo inspired by many musical influences. Deanne’s interpretation of the melody is vulnerable, passionate and real; emphasizing the song’s message of living authentically. The song’s unique ending has become a trademark part of this duo’s repertoire. Stealin’ Blue is an album of ballads.https://www.deannematley.com/music/stealin-blue-live-at-cafe-koi/

Stealin'Blue (Live at Cafe Koi)

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Gil Evans & Lee Konitz - Heroes

Styles: Piano And Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 53:35
Size: 122,9 MB
Art: Front

(6:11) 1. Prince of Darkness
(6:49) 2. Reincarnation of a Lovebird
(8:27) 3. Aprilling
(6:17) 4. What Am I Here for
(6:52) 5. All the Things You Are
(6:17) 6. Prelude No. 20 in C Minor, Opus 28
(6:18) 7. Blues Improvisation/Zee Zee
(6:20) 8. Lover Man (Oh, Where Can You Be?)

This CD (and its follow-up Anti-Heroes) features the rather odd duo of Lee Konitz (on alto and soprano) and pianist Gil Evans. Since Evans was far from a virtuoso and at best played "arranger's piano" (particularly at this late stage in his life), his accompaniment behind Konitz is quite sparse. The repertoire includes standards, Konitz's "Aprilling," an adaptation of some Chopin and a medley of Evans' "Blues Improvisation" and "Zee Zee." But frankly overall this is a rather uneventful and often dull release that can easily be passed by.~Scott Yanow https://www.allmusic.com/album/release/heroes-mr0000130968

Personnel:Alto Saxophone, Soprano Saxophone – Lee Konitz; Piano – Gil Evans

Heroes

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The Heath Brothers - Live At The Public Theater

Styles: Jazz, Post Bop
Year: 1980
File: MP3@320K/s
Time: 46:56
Size: 109,1 MB
Art: Front

(0:18) 1. Introduction by Ted Ross
(9:45) 2. A Sassy Samba
(6:40) 3. Warm Valley
(7:30) 4. Cloak And Dagger
(5:03) 5. For The Public
(7:12) 6. Watergate Blues
(9:00) 7. We Need Peace And We Need Love
(1:24) 8. Artherdoc Blues

The fourth of the Heath Brothers' seven recordings before their breakup in 1983 (they would regroup in 1997) once again puts the focus on Jimmy Heath's writing, including such originals as "A Sassy Samba" (for Sarah Vaughan), "Cloak and Dagger," and the unusual "For the Public." Along with Jimmy's tenor and soprano, the main soloists are keyboardist Stanley Cowell (who is also a master of the kalimba, the African thumb piano) and guitarist Tony Purrone. Offering tasteful support are bassist Percy Heath drummer Akira Tana, an unknown at the time, and a couple of percussionists. Unfortunately, none of the Heath Brothers' enjoyable Columbia LPs have yet been reissued on CD.~ Scott Yanow https://www.allmusic.com/album/live-at-the-public-theater-mw0000902996

Personnel: Double Bass [Acoustic Bass], Bass [Baby] – Percy Heath; Drums – Akira Tana; Electric Guitar – Tony Purrone; Keyboards, Kalimba – Stanley Cowell; Tenor Saxophone, Soprano Saxophone, Arranged By – Jimmy Heath

Live At The Public Theater

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Angela Verbrugge - The Night We Couldn't Say Good Night

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 49:15
Size: 113,5 MB
Art: Front

(4:34) 1. I'm Running Late (That's the Question)
(3:51) 2. The Night We Couldn't Say Good Night
(4:39) 3. Love Walked In
(5:13) 4. All Too Soon
(3:27) 5. You're Almost Perfect
(3:00) 6. This Could Be the Start of Something Big
(3:11) 7. Interlude (A Night in Tunisia)
(4:17) 8. Cool Baby
(3:40) 9. Si Tu Pudieras Quererme (You and the Night and the Music)
(3:52) 10. Speak Softly, Love
(3:01) 11. Plus je t’embrasse
(3:06) 12. The Moon Was Yellow
(3:17) 13. How Did I Know This Was the End?

Angela Verbrugge seems to understand the importance of a first impression, as her debut album offers a wide-angle look at her manifold talents without feeling forced or showy. A singer nurtured on the British Columbia jazz scene, the Vancouver-based Verbrugge possesses a winsome, brightly burnished, pliable voice, ample emotional intelligence, considerable songwriting skills, and conspicuously good taste. With top-notch accompanists Ray Gallon on piano, Anthony Pinciotti on drums, and Cameron Brown on bass she delivers 13 songs, including four originals, that cover a lot of territory.

It takes some moxie to lead with two pieces of her own the steeplechase collaboration with Gallon, “I’m Running Late (That’s the Question),” and the sultry title track before offering a wondrous version of the Gershwins’ “Love Walked In” complete with oft-overlooked verse. The album’s sequencing often amplifies a song’s impact, as when Steve Allen’s rousing “This Could Be the Start of Something Big” follows her original “You’re Almost Perfect.” https://jazztimes.com/reviews/albums/angela-verbrugge-the-night-we-couldnt-say-goodnight-gut-string/

The Night We Couldn't Say Good Night

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Nitty Gritty Dirt Band - Bang Bang Bang

Styles: Vocal, Country, Big Band
Year: 1998
File: MP3@320K/s
Time: 36:34
Size: 85,6 MB
Art: Front

(2:56) 1. If This Ain't Love
(3:41) 2. Bang, Bang, Bang
(4:29) 3. Singing To The Scarecrow
(3:03) 4. Forget The Job
(3:58) 5. It's About Time
(2:37) 6. Down The Road
(3:22) 7. Nickel In The Well
(3:30) 8. Rent, Groceries and Gasoline
(2:44) 9. Dry Town
(2:31) 10. The Monkey Song
(3:37) 11. Southbound Train

While it pales in comparison with their classic early '70s releases, Bang Bang Bang is far from being a lesser latter-day effort from the Nitty Gritty Dirt Band. The group are seasoned professionals, capable of making even second-rate material sound fine, which is fortunate since there's a little bit too much filler on the record. Nevertheless, it's a pleasure to hear the group play, and there are moments where they nearly recapture the magic of yesteryear, which may make the album worthwhile for dedicated fans.~Thom Owens https://www.allmusic.com/album/bang-bang-bang-mw0000035101

Bang Bang Bang

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Miriam Klein, Kirk Lightsey - Ballads for Loving Kindness

Styles: Vocal And Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 57:31
Size: 132,4 MB
Art: Front

(6:22) 1. There Is Nothing Like the Feeling
(6:43) 2. Detour Ahead
(6:37) 3. A Time for Love
(5:20) 4. Easy Street
(7:07) 5. Deep in my Dreams
(6:20) 6. Love Is the Thing
(5:35) 7. Season
(6:08) 8. Mandy Is Two
(7:16) 9. Gloomy Monday

Miriam Klein (born March 27, 1937 in Basel) is a Swiss jazz singer. Miriam Klein first achieved notoriety when she performed in Paris with Pierre Michelot, Don Byas and Art Simmons in the 1950s. After training at the music school in Vienna, she returned to Switzerland and sang in the formations of her husband Oscar Klein since 1963.

In the 1960s and 1970s she became internationally known as a singer. She recorded an album with Bessie Smith tracks during this period; The international breakthrough came in 1973 with the album " Lady Like ", which was dedicated to Billie Holiday. She was accompanied by musicians such as Roy Eldridge, Dexter Gordon and Slide Hampton. She also recorded a record with Albert Nicholas.

In 1977 Klein worked with the Fritz Pauer Trio, in 1978 with Sir Roland Hanna and George Mraz on their album " By Myself ". At the Frankfurt Jazz Festival 1980 she was accompanied by Hans Kollers International Brass Company . In 1981/82 she went on tour with Kenny Clarke, Hanna and Isla Eckinger. In 2001 she was also involved in the recording of the album My Marilyn by David Klein, her son.

Her role model is Billie Holiday; she wanted to sing like Billie Holiday, but not copy it , said the singer. After making a record with Miriam Klein, Roy Eldridge said: Your voice would have been much more suitable for the film “Lady Sings the Blues” than Diana Ross's. https://peoplepill.com/people/miriam-klein

Personnel: Miriam Klein - Vocal; Kirk Lightsey - Piano.

Miriam: Ballads for Loving Kindness

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Swedish Swing Society - Runnin' Wild in New York (Remastered)

Styles: Jazz, Swing
File: MP3@320K/s
Time: 73:42
Size: 170,2 MB
Art: Front

(5:20) 1. Runnin' Wild
(4:45) 2. It's the Talk of the Town
(5:09) 3. Stompin' At The Savoy
(5:04) 4. Memories of You
(5:14) 5. Three Little Words
(5:20) 6. Night And Day
(5:48) 7. Blue Lou
(3:43) 8. The Man I Love
(6:14) 9. The Sheik Of Araby
(4:52) 10. Sweet Lorraine
(4:41) 11. After You've Gone
(5:24) 12. It Had To Be You
(6:54) 13. Stardust
(5:06) 14. Chinatown My Chinatown

In 1935 Benny Goodman put together the famous trio with Teddy Wilson at the piano and Gene Krupa on the drums. The first recordings resulted in an immense success. The concept of letting the left hand of the pianist work together with the bassdrum, in the absense of a bassplayer, and Goodmans joyful ease created an airy sound that brought fourth the elegant technique of the musicians and an ecceptional swingexperience. In 1936 vibraphonist Lionel Hampton was added to the group. This quartet became the model for the popular Swedish group that Ove Lind and Lars Erstrand put together. Ulf Johansson Werre overtook the pianostool from Bengt Hallberg and later Bjorn Sjodin inherited the drummer position from Ronnie Gardiner.

After the decease of Ove Lind Antti Sarpila joined the group. Now, after the decease of Lars Erstrand the group continues as the original, chambermusical trio with which Goodman set style in 1935. SWEDISH SWING SOCIETY (SSS) cares and develops this inheritance in a way that has given response among audiences and critics over the world. ”World class” is often mentioned when referring to the appearances of the group, for example at Carnegie Hall in New York at a celebration of the National Day of Sweden. ”The interplay between Ulf, Antti and Bjorn is brilliant.It sounds so easy and natural when these musicians make their elegant and swinging versions that it puts You in a great mood.
”Translated By Google http://www.bjorntjanst.com/SwedishSwingSociety.html

Personnel: Antti Sarpila, clarinet; Ulf Johansson Werre, piano; Lars Erstrand, vibraphone; Björn Sjödin, drums

Runnin' Wild in New York

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Georges Brassens - Brassens Et Le Jazz Disc 1,Disc 2

Album: Brassens Et Le Jazz Disc 1
Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 71:08
Size: 164,4 MB
Art: Front

(3:55) 1. Elégie à un rat de cave
(3:38) 2. Au Bois De Mon Coeur
(2:49) 3. P De Toi
(2:30) 4. La Femme D' Hector
(2:34) 5. La Marche Nuptiale - Mono
(4:05) 6. Le Temps Ne Fait Rien A L' Affaire
(3:04) 7. Le Temps Passé
(3:09) 8. Chanson Pour L'Auvergnat
(2:53) 9. La Chasse Aux Papillons
(3:41) 10. Le Pornographe
(2:57) 11. La Prière
(2:15) 12. Les Copains D'Abord
(3:12) 13. Histoire De Faussaire
(2:48) 14. Embrasse-Les Tous
(4:20) 15. Maman Papa
(2:56) 16. La Non-Demande En Mariage
(2:51) 17. Je Me Suis Fait Tout Petit
(2:52) 18. J' Ai Rendez-Vous Avec Vous
(3:45) 19. Bonhomme
(2:21) 20. Le Vent
(2:39) 21. La Ballade Des Cimetières
(3:16) 22. La Ronde Des Jurons
(2:24) 23. Cupidon S'En Fout

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Album: Brassens Et Le Jazz Disc 2
Time: 45:06
Size: 104,0 MB

(3:35) 1. La Première Fille
(3:54) 2. Dans L'Eau De La Claire Fontaine
(4:29) 3. Le Vieux Léon
(4:13) 4. Pénélope
(3:24) 5. A L'Ombre Du Coeur De Ma Mie
(3:32) 6. Oncle Archibald
(5:06) 7. La Route Aux Quatre Chansons
(3:06) 8. Les Amoureux Des Bancs Publics
(4:57) 9. L'Orage
(4:54) 10. Le 22 Septembre
(3:51) 11. Les Passantes

One of French pop's most poetic songwriters, Georges Brassens was also a highly acclaimed and much-beloved performer in his own right. Not only a brilliant manipulator of language and a feted poet in his own right, Brassens was also renowned for his subversive streak, satirizing religion, class, social conformity, and moral hypocrisy with a wicked glee. Yet beneath that surface was a compassionate concern for his fellow man, particularly the disadvantaged and desperate. His personal politics were forged during the Nazi occupation, and while his views on freedom bordered on anarchism, his songs expressed those convictions more subtly than those of his contemporary, Léo Ferré. Though he was a skilled songwriter, Brassens had little formal musical training, and he generally kept things uncomplicated simple melodies and spare accompaniment from a bass and second guitar. Along with Jacques Brel, he became one of the most unique voices on the French cabaret circuit, and exerted a tremendous influence on many other singers and songwriters of the postwar era. His poetry and lyrics are still studied as part of France's standard educational curriculum.

Georges Brassens was born in the small Mediterranean town of Sète, France, on October 22, 1921. His deeply religious mother encouraged him to play the mandolin, and taught him some of the Italian folk songs she'd grown up with; intellectually, however, Brassens wound up taking after his staunchly anti-religion father. Around age 15, Brassens met Alphonse Bonnafé, the literature teacher who first introduced him to poetry (and would later write the first Brassens biography in 1963). Brassens soon spent his free time writing poetry and song lyrics, the latter of which he typically set to popular melodies of the time. He also formed a small musical group called Jazz, which played local functions with Brassens as the drummer. Unfortunately, Brassens was expelled from school in 1939 after inadvertently getting mixed up in a jewel theft on campus. He first went to work for his father's masonry business, then went to Paris in 1940 to live with his aunt and work at the Renault car factory. In the meantime, he learned piano and wrote some of his first original compositions.

When Nazi troops arrived in Paris that summer, Brassens returned to Sète for a few months, but found it difficult to remain there. He was back in Paris by year's end, and despite the Nazi occupation, he managed to publish two short poetry collections in 1942. In 1943, Brassens was conscripted into the S.T.O., a mandatory work service program that forced him to go to Germany; there he met Pierre Onténiente, a fellow Frenchman who would become his lifelong friend and (in his successful years) private secretary. After a year in the S.T.O., Brassens returned to Paris on a two-week leave; rather than go back to Germany, he went into hiding at the home of a couple, Jeanne and Marcel Planche, whom he would later immortalize in song. Without much else to occupy him, Brassens spent his days composing songs and writing music, eventually teaching himself the guitar based on his prior experience with the mandolin.

In 1946, after the war had ended, Brassens published the first of a series of articles in the anarchist journal Le Libertaire. The following year, he also published his first novel, La Lune Écoute Aux Portes, and met Joha Heiman, the woman he would love and write about for the remainder of his life (oddly, they never married or even cohabited, as Brassens continued to live with the Planches until 1966). Brassens wrote much of his finest early work during the next few years, but found it difficult to place his material with anyone on the Parisian cabaret circuit. His luck started to change in 1951 when he met singer Jacques Grello, who helped him find performers for his songs; however, none proved especially popular with audiences at first.

In early 1952, Brassens auditioned a selection of his material for female cabaret star Patachou, giving a late-night performance that dazzled the small audience present. Though Brassens had never considered himself a singer, Patachou convinced him to try his hand at performing himself. A bass player present at the audition, Pierre Nicolas, quickly joined Brassens in support, and would serve in that capacity for the remainder of the singer's career. Brassens was an immediate hit on the cabaret circuit with both audiences and critics, and with Patachou's help, he met Polydor exec Jacques Canetti, and landed a record deal. His first single, "Le Gorille," was released later in 1952, and stirred up controversy with its strong anti-death penalty stance; in fact, it was banned from French radio until 1955. In 1953, Brassens released his first LP, La Mauvaise Réputation, and played his first major concert at the Bobino Theatre, to which he would return often in the years to come; he also published a second novel, La Tour des Miracles. He won the prestigious Grand Prix du Disque de l'Academie Charles Cros in 1954 for his EP Le Parapluie, and spent much of the year touring Europe and northern Africa. He released several more LPs over the remainder of the '50s, during which time chronic kidney ailments began to affect his health, resulting in periodic hospitalizations. Nonetheless, he continued to tour regularly, and made his film debut in 1956's Portes des Lilas; he also set some of his friend Paul Fort's poetry to music.

Brassens' early-'60s LPs included strong works like Le Pornographe, Le Mécréant, and Les Trompettes de la Renommée. In 1964, he wrote the hit theme "Les Copains d'Abord" for the film Les Copains, and issued an album of the same name. His prolific writing pace of the '50s slowed considerably afterward, due in part to health problems and personal tragedies (both his parents and the Planches had passed away by the end of the decade). These experiences informed his increasingly morbid lyrical outlook, typified by his 1966 LP Supplique pour Être Enterré à la Plage. However, the remainder of the '60s was not all unkind to Brassens; he was awarded the Grand Prix de Poésie de l'Academie Française (the highest national poetry award) in 1967, and took part in a celebrated three-way radio interview with Jacques Brel and Léo Ferré in 1969. Also in 1969, he returned with the new album La Religieuse, which featured his new second guitarist, Joel Favreau, the third musician to hold that chair (the first two were Victor Apicella and Barthelemy Rosso).

Brassens spent the early '70s working on several film soundtracks, and performing several well-received concert series at the Bobino Theatre; he also issued a new album, Fernande, in 1972. Weakened by his kidney problems, he embarked on his final tour in 1973. He issued one further LP, Don Juan, in 1976, and gave a series of farewell concerts in early 1977 at the Bobino. Brassens would return to the studio on several other occasions as a star guest for others' recording sessions, but by 1980, his kidney problems had worsened into cancer. He passed away on October 29, 1981, in the village of Saint-Gely-du-Fesc, at his doctor's home, and was buried nearby in his hometown of Sète.~ Steve Huey https://www.allmusic.com/artist/georges-brassens-mn0000541940/biography

Brassens Et Le Jazz

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Frank Kimbrough & Joe Locke - Saturn's Child

Styles: Piano And Vibraphone Jazz
Year: 1999
File: MP3@320K/s
Time: 63:06
Size: 145,1 MB
Art: Front

(7:04) 1. 727
(7:49) 2. Saturn's Child
(8:27) 3. Trouble Is a Gorgeous Dancer
(4:55) 4. Silence
(4:09) 5. Waltz for Lee
(8:03) 6. Empty Chalice
(8:24) 7. Sanibel Island
(9:35) 8. I Still Believe (In Love)
(4:36) 9. Midnight

Saturn's Child is one of several new releases brought to you by the brand new modern jazz-based "Omni Tone" label. Smart packaging, insightful liners and premium sound quality come to the forefront along with two splendid new releases by members of the "red-hot"New York Jazz Composers Collective. Along with trumpeter Ron Horton's Genius Envy (see Nov '99 AAJ review) we are enamored with the absolutely stunning duet performances by much in demand vibraphonist Joe Locke and a man who seemingly possesses the skilled hands of a surgeon behind the keys, pianist Frank Kimbrough.

Saturn's Child is a striking foray into supremely intuitive interplay and lush melodicism via charming and bittersweet phraseology coupled with the duo's sensitivity, compassion and mutual "musical" respect for one another which is evident from the opening moments of Frank Kimbrough's composition, "727". Light, airy thematic statements by Locke who is rapidly becoming one of the top session musicians in jazz besides a successful solo career rides the crest of the wave atop Kimbrough's rhythmically inclined left-hand chord voicings. Here and throughout, Kimbrough and Locke engage their thoughts and demonstrate uncanny synergy as they delicately articulate sleek, smooth passages which are at times, somber, pensive and in many instances, spiritually uplifting. Joe Locke's "Saturn's Child" features a poignant yet zestful theme through clear well stated unison lines as if the song was truly intended to be a bedtime lullaby.

Locke's serene "Trouble Is A Gorgeous Dancer" features a catchy melody all with a touch of class and finesse as the gentlemen alternate solo chores while ultimately converging to restate the endearing and quite memorable theme. Here, the recurring motif serves as a bridge for Kimbrough's inspiring and somewhat ethereal ruminations, displaying artful use of harmonics, tremolo and conveying somewhat of a majestic presence. These men perform as though they were seeking that ever elusive - "pot of gold", mainly from a musical and/or artistic standpoint. Perfection seems attainable on Saturn's Child as the story evolves on Kimbrough's "Waltz For Lee" while the duo create an affable, positive groove over a simple waltz motif. Lush romanticism on "Empty Chalice" and - ever so soft - poetry in motion on the light-as-a feather ballad "I Still Believe (In Love)" are magnetically appealing and further indicate the duo's powerful compositional skills. Accolades aside, Saturn's Child may be the logical heir to Chick Corea and Gary Burton's momentous and critically acclaimed "Crystal Silence" outing on the ECM label. Kimbrough and Locke have created a sparkling gem here... Saturn's Child is music of a higher order, a colossal effort!! Highly Recommended...~ Glenn Astarita https://www.allaboutjazz.com/saturns-child-joe-locke-omnitone-review-by-glenn-astarita.php

Personnel: Frank Kimbrough: piano; Joe Locke: vibraphone.

Saturn's Child

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Papik, Sarah Jane Morris - Let The Music Play

Styles: Vocal
File: MP3@320K/s
Time: 44:28
Size: 103,0 MB
Art: Front

(4:03) 1. Let The Music Play
(4:17) 2. You Are The Best Thing
(4:51) 3. Jericho
(3:49) 4. Hold On To Love
(3:39) 5. Hello It's Me
(3:49) 6. I Really Feel You So (featuring Sarah Jane Morris)
(3:52) 7. Appetite
(4:17) 8. Missing
(3:36) 9. Sweet Love
(4:02) 10. Looking For A Rainbow
(4:09) 11. Lovely Day

Papik is a musical project born from an idea of the Roman arranger and composer Nerio Poggi, a successful author and producer ranging from pop , jazz, from Bossa nova to Soul and who has collaborated, among others, with Mario Biondi. The collaboration between Sarah and Papik begins on the song "I really feel you so" , an unreleased song, while later they work on the cover of Barry White that gives the title to the project and to the album released for Irma Records "Let the music play!".

On the disc the trusted collaborator Tony Remy plays the guitar, all the other musicians are of the Papik project precisely because the disc has a precise sound world that distinguishes the producer. It is a tribute to the '80s, the period from which Sarah's success with “Don't leave this way” comes with the Communards. Sarah has chosen songs by artists she is particularly attached to such as Bill Withers ( "Lovely Day" ), Everything but the girl ( "Missing" ), Simply Red ( "Jericho" ), Tod Rundgren ( "Hello It's me" ) to name some. Sarah's charisma and voice and Papik's sound world give a new light to these songs, create a sunny, cheerful but refined atmosphere, a live that brings back to that magic and lightness we so much need these days.Translate By Google https://casadeljazz.com/evento/sarah-jane-morris-let-the-music-play/

Personnel: Sarah Jane Morris - vocals; Tony Remy - guitar ; Papik

Let The Music Play

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Olaf Polziehn - Gentle Touch

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 56:46
Size: 130,6 MB
Art: Front

(4:47) 1. Jazz Folk
(6:14) 2. Detour Ahead
(5:06) 3. Dedication
(4:55) 4. The Candy Man
(4:32) 5. Remembering
(5:33) 6. Pensativa
(6:24) 7. They Say It's Spring
(6:42) 8. Rachid
(6:20) 9. The Hands Of Time
(3:32) 10. Never Let Me Go
(2:38) 11. Silence

In recent years, Olaf Polziehn, who was born 1970 in Ludwigsburg, has earned a reputation as one of Europe’s most sought-after jazz pianists. Evidence of this includes his concerts and CDs with such musicians as Randy Brecker, Quincy Jones, Patti Austin, Al Jarreau, Take 6, Al Foster, Bobby Durham, Benny Golson, Scott Hamilton, Horacio “El Negro” Hernández, and many others. The pianist Monty Alexander has written of him: “Olaf is in possession of outstanding piano technique and a wondrous touch.” And Bob Mintzer remarked: “Olaf Polziehn is a terrific pianist! He draws upon the tradition and then takes the music to interesting new places, always with a keen sense of taste and style. He makes everyone in the band sound good and is a great conversationalist. All the ingredients for a great piano player!” Olaf Polziehn has been a professor at the Graz University of Art since October 2008. https://www.lucernefestival.ch/en/program/directory-of-artists/olaf_polziehn/2700

Gentle Touch

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Groove Collective - Dance Of The Drunken Master

Styles: Acid Jazz
Year: 1998
File: MP3@320K/s
Time: 71:00
Size: 164,3 MB
Art: Front

(6:49) 1. Out The Door
(3:42) 2. Deal With It
(4:48) 3. Floating
(4:42) 4. Bionic
(5:39) 5. St. Gallen
(6:28) 6. Peep Show
(3:39) 7. Que Te Pasa 'Ti
(6:20) 8. Anna Christina
(4:20) 9. Drunken Master
(4:42) 10. Tangenziale
(5:00) 11. Runaway Child
(5:07) 12. Sending
(5:20) 13. World Bank
(4:18) 14. Hey

With their brand of acid jazz, the Groove Collective mix the spirit of horn bands like Earth, Wind & Fire with the snap of hip-hop and the edge of hard bop on Dance of the Drunken Master. While jazz purists might wince at the gurgling rhythms, most will find it hard to keep still with the thick funk on these tracks. This is music with a sense of fun. ~ Tim Sheridan https://www.allmusic.com/album/dance-of-the-drunken-master-mw0000040922

Personnel: Baritone Saxophone, Soprano Saxophone, Bass Clarinet, Vocals, Tenor Saxophone – Jay Rodriguez; Bass Guitar, Electric Guitar, Synthesizer [Additional] – Jonathan Maron; Congas, Percussion, Vocals – Chris Theberge; Drums, Vocals, Drums [Electronic Drums] – Genji Siraisi; Electric Piano [Rhodes], Organ [B-3], Clavinet, Synthesizer [Minimoog, Arp String Ensemble], Vocals – Jonathan Crayford; Flute, Piccolo Flute, Kalimba, Vocals, Music Director – Richard Worth; Guest, Electric Piano [Rhodes], Synthesizer [Minimoog], Clavinet – A.T.N. Stadwijk (tracks: 3, 6, 9); Guest, Trombone – Josh Roseman (tracks: 3, 6, 9, 13); Tenor Saxophone, Vocals – David Jensen; Timbales, Bongos, Percussion, Vocals, Rap [Rhymes] – Gordon "Nappy G" Clay; Trumpet, Flugelhorn, Vocals – Fabio Morgera; Vibraphone, Vocals – Bill Ware III

Dance Of The Drunken Master

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Corey Wilkes - Cries From Tha Ghetto

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 59:21
Size: 136,9 MB
Art: Front

( 9:05) 1. First Mind
( 0:44) 2. Abstrakt #1
( 6:30) 3. SICK JJ
( 7:23) 4. Levitation
( 4:49) 5. Rain
(10:53) 6. Cries from Tha Ghetto
( 1:12) 7. Abstrakt #2
( 7:44) 8. Visionary of an Abstrakt
( 1:01) 9. Abstrakt #3
( 5:12) 10. Villa Tiamo
( 0:25) 11. Abstrakt #4
( 4:18) 12. Chasin' LeRoy

Trumpet player Corey Wilkes was just 24 when saxophonist Roscoe Mitchell recruited him to join the Art Ensemble Of Chicago in 2003, four years after Lester Bowie's passing. Since then he has demonstrated remarkable technical and creative ability, serving as a sideman in James Carter's Quintet, Kahil El'Zabar's Ethnic Heritage Ensemble, Rob Mazurek's Exploding Star Orchestra and Nicole Mitchell's Black Earth Ensemble. He also leads his own straight-ahead Quintet, the neo-soul outfit Black Slang and the forward thinking sextet Abstrakt Pulse, featured on Cries From Tha Ghetto, Wilkes' sophomore effort a far more adventurous affair than his funky debut, Drop It (Delmark, 2008).

Combining the progressive hard bop of 1960s Blue Note sessions with the exploratory advancements of the AACM, Wilkes' Abstract Pulse features the estimable talents of relative newcomers Kevin Nabors (tenor saxophone), Scott Hesse (guitar), Junius Paul (bass), Isaiah Spencer (drums) and tap dancer Jumaane Taylor. Nabors brawny cadences and Hesse's fleet-fingered fretwork provide Wilkes with a vivacious front line. Paul and Spencer are a resourceful rhythm section, occasionally accompanied by Taylor's quicksilver hoofing. A generous leader, Wilkes provides liberal solo space for his sidemen as well as sharing writing duties. Other than an ethereal cover of Lester Bowie's "Villa Tiamo," all the tunes are originals, most co-written by the band.

Chameleonic in his versatility, it's easy to see why Mitchell picked Wilkes to fill Bowie's spot. On the Jazz Messengers-inspired swing of "First Mind" and "Levitation" he recalls the soulfulness of Lee Morgan, the dexterity of Freddie Hubbard and the harmonic sophistication of Woody Shaw, without resorting to imitation. "Villa Tiamo," reveals his debt to Bowie with expansive pitch bends and half-valve tonal smears, an ability showcased to even greater effect on the haunting dissonances of "SICK JJ" and the labyrinthine "Visionary of an Abstrakt." Conversely, his tender muted refrains on the lush Milesean ballad "Rain" show great restraint.

A diverse session, "First Mind" and Levitation" offer a modernistic spin on classic hard bop conventions, while numbered "Abstrakt" interludes spotlight each member of the group in vociferous freeplay. "SICK JJ" travels further out a menacing fever dream awash with coruscating electric guitar feedback, rumbling electric bass tones and a thicket of caterwauling horns. "Visionary of an Abstrakt" augments spry free bop with a string of searching solos including episodes of unearthly kaleidoscopic bass harmonics and spectral bell-tones. Straddling the line between tradition and the avant-garde, "Chasin' LeRoy" and the lyrical title track encompass the best of both worlds. Expanding beyond the stylistic limitations of his debut album, Cries From Tha Ghetto presents a richer side of Wilkes' artistry, one that lives up to his potential.

Personnel: Corey Wilkes: trumpet and flugelhorn; Kevin Nabors: tenor saxophone; Scott Hesse: guitar; Junius Paul: bass; Isaiah Spencer: drums; Jumaane Taylor: tap dance.

Cries From Tha Ghetto

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Gene Ammons & Sonny Stitt - Left Bank Encores

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 73:11
Size: 168,2 MB
Art: Front

( 9:06) 1. Just In Time
(11:31) 2. They Can't Take That Away From Me
( 9:37) 3. Theme From "Love Story"
( 6:56) 4. Exactly Like You
( 6:02) 5. Don't Go To Strangers
(15:51) 6. Autumn Leaves
(14:05) 7. Blues Up And Down

The antithesis of studio-bred perfection, Left Bank Encores is another interesting artifact of Ammons and Stitt’s long-term partnership. The presence of a large, vocal crowd at the Famous Ballroom doesn’t spur the expected tenor battle; rather, something looser and less dramatic occurs.

During a brisk rendition of “Just In Time,” the set’s opener, Ammons states the melody then delivers a solo full of short, abrupt phrases with a burly, elephantine tone. The rhythm section, comprised of pianist Cedar Walton, bassist Sam Jones, and drummer Billy Higgins, manages to swing efficiently and stay out of Ammons’ way. Brief and to the point, the tenor saxophonist’s soul-stirring accompaniment is a perfect match for Etta Jones’ vocals during a raucous take of “Exactly Like You.”

In contrast to Ammons’ large, lumbering presence, Stitt’s brief turn on the same track is a brilliant patchwork that brings together portions of the tune’s melody, blues locutions, and bebop flights into a coherent statement. “They Can’t Take That Away From Me” is noteworthy for the inspired give and take between Stitt and Walton on the saxophonist’s extended alto solo.~ David A. Orthmann https://www.allaboutjazz.com/left-bank-encores-gene-ammons-prestige-records-review-by-david-a-orthmann.php

Personnel: Gene Ammons - tenor saxophone; Sonny Stitt - tenor and alto saxophone; Cedar Walton - piano; Sam Jones - bass; Billy Higgins - drums; Etta Jones - vocals (4 and 5).

Left Bank Encores

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Count Basie - Count Basie Live - 1938 At The Famous Door, NYC

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 72:47
Size: 175,8 MB
Art: Front

(1:58) 1. Intro - Time Out
(1:41) 2. One Hour
(6:59) 3. Jumpin' At The Woodside
(3:13) 4. I Hadn't Anyone Till You
(4:00) 5. King Porter Stomp
(3:04) 6. OH! Lady Be Good
(1:00) 7. Everybody Loves My Baby
(4:07) 8. Intro - King Porter Stomp
(4:45) 9. John's Idea
(3:56) 10. Nagasaki
(3:08) 11. Doggin' Around
(4:25) 12. Wo-Ta-Ta
(3:03) 13. Yeah Man
(2:26) 14. Out The Window
(5:12) 15. Introduction - Every Tub
(2:25) 16. Song Of The Wanderer
(4:34) 17. Flat Foot Floogie
(3:37) 18. OH! Lady Be Good
(3:08) 19. Boogie Woogie Blues
(5:56) 20. One O'Clock Jump

The Basie band, with Harry James as the guest soloist and new arrival Harry Edison in the lineup, rocked New York's 52nd Street. The band is captured here in six late-night CBS broadcasts in the midst of its first big year of success, in an engagement that was supposed to last six weeks and ended up running four months, before an audience so taken with the group's sound that they willingly moved out onto the sidewalk while the group opened up to full volume for these broadcasts. There's hardly a note out of place, and the band shows its stuff behind renditions of "Jumping at the Woodside," "King Porter Stomp," and "One O'Clock Jump" (a killer finale) clocking in at between five and seven minutes with extended solos, double the length of their records of this era. Basie's piano gets some of the spotlight in a bracing version of "Lady Be Good." The fidelity is good to very good, and only "Everybody Loves My Baby" (a great number) is, alas, incomplete, a result of a transcription disc that was never found. That flaw aside, it is a release like this that transcends any of the criticism of the digital medium put simply, it's only the existence of digital audio and digital editing that permitted an engineer to remove more than 200 scratches per second from the original transcription discs that this CD came from.~ Bruce Eder https://www.allmusic.com/album/count-basie-live%21-1938-at-the-famous-door-nyc-mw0000982377

Count Basie Live -1938 At The Famous Door, NYC

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The Bill Evans Guitar Project - Echoes of Bill

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 25:10
Size: 58,0 MB
Art: Front

(5:11) 1. Bill's Hit Tune
(4:57) 2. Children's Play Song
(3:48) 3. Twelve Tone Tune
(6:06) 4. Re: Person I Knew
(5:07) 5. Show Type Tune

On July 2, 2000 John Hebert, Bruce Hall, Rez Abbasi and I got together to play some Bill Evans tunes in Bruce Hall's Brooklyn home studio. Bruce was recording into a now-obsolete digital recording platform (mini disc) at the time, there was a lot of mic bleed, small room, mini-disc....it wasn't Avatar. Despite this the end product sounds remarkably good. Bruce did some beautiful playing and some beautiful engineering here. As far as any of us can remember we just got together to record in this two guitar configuration that one time although we had all played together on many different gigs and recording projects...in a lot of ways New York was and is a small town. We were pretty much reading through some Evans tunes, coming up with quick arrangements, recording and moving on to the next tune. It's got a really nice vibe and for all you guitar players, Rez is absolutely burning.

We met at Bruce's house, read through some tunes, hung out afterward, did a lot of bullshitting and for the next 20 years didn't give the recording much thought, if any. Then...about a year ago Bruce remixed the tunes we recorded and sent us all a copy. It was an emotional experience for me to hear this so many years later and I think for the others as well. All the great memories I have of playing with these stellar musicians, all the miles between then and now, the gratitude that I felt and still feel to these musicians that I admire and respect for including me and for the commitment, heart, soul and talent they put into any and all music that they make.I think you can hear all that in this recording. We got it mastered through Gene Paul at GandJ Audio Gene and Joel Kerr did a freaking great job on that.Huge thanks to Bruce Hall for his hosting, playing and engineering.https://thebillevansguitarproject.bandcamp.com/album/echoes-of-bill

Personnel: Rez Abbasi - Guitar ; Bruce Hall - Drums; John Hébert - Bass; Bruce Saunders - Guitar

Echoes of Bill

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Gene Ammons, Sonny Stitt - God Bless Jug And Sonny

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 68:01
Size: 156,6 MB
Art: Front

(16:32) 1. Blue 'N' Boogie
(14:58) 2. Stringin' The Jug
( 5:48) 3. God Bless The Child
( 5:05) 4. Autumn In New York
( 7:44) 5. Ugetsu
(17:51) 6. Bye Bye Blackbird

Jug and Sonny share a place near the top in the pantheon of tandem tenor teams. Their spirited, hard-charging contests, which always seem to end in amicable draws are the stuff of canonical jazz legend so the news of an previously unreleased recording of the pair is undoubtedly enough to set the countenances of their loyal fans to suffusing with expectant grins. Taped live at the Left Bank Jazz Society during Ammons’ twilight time (he would die a little over a year later) the date makes good on its promise. Three tracks clocking in at over fourteen minutes, one apiece as solo features for the individual tenors and a final track showcasing the rhythm section alone- its easy to see that this is a program custom-built to satisfy even the most demanding bop maven.

Ammon’s robust and throaty horn initiates the Gillespie classic “Blue ‘n’ Boogie” digging in deep around the theme and sounding off with sassy abandon through a ruddy stream of elongated notes. Stitt chimes in on the heels of his confrere’s solo with a lighter, less pugilistic tone, taking his time in cavorting with the rhythm section’s supportive swing. Engaging in a chain of overlapping exchanges the pair trade phrases before a final joint summation takes the tune out. “Stringin’ the Jug” affords Ammons inaugural honors a second time and the heavyweight tenor comes out swinging again. Jabbing and feinting through his series of choruses he again shows himself less light on his feet than Stitt and resorts on occasion to repetitive stock phrases. An uncharacteristic coarseness also invades his tone and its not always clear whether the change is a product of the recording fidelity or his own fading prowess. Stitt again sounds completely in control from the onset of his own protracted declaration, the speed of his unfurling lines matched by Higgins’ scampering drums.

The next two tracks provide opportunities to hear the individual horns in isolation with the rhythm section and the differences between Stitt and Ammons in these undiluted settings are particularly enlightening. Ammons’ gilded exploration of the Billie Holiday staple “God Bless the Child” balances just the right of measure of tenderness with muscular grit. Stitt hoists his alto for “Autumn in New York” working similar magic of the standard’s balladic changes. Walton’s “Ugetsu,” which first gained notoriety as an entry in the Jazz Messengers songbook gives the saxophonist’s a rest and the resulting trio shines on its own terms. Rounding out with a final burner in the form of a seventeen-minute “Bye Bye Blackbird” the tenor warhorses take one final gallop through the trenches.

As two-tenor conclaves go this one earns high marks. All the more so because unlike earlier recorded meetings between Jug and Sonny, track lengths allow for the duo to truly put each other through the paces. Listeners with a keen ear for the work of either man will find their expectations met many times over.~ Derek Taylor https://www.allaboutjazz.com/god-bless-jug-and-sonny-fantasy-jazz-review-by-derek-taylor.php

Personnel: Gene Ammons- tenor saxophone; Sonny Stitt- tenor & alto saxophones; Cedar Walton- piano; Sam Jones- bass; Billy Higgins-drums. Recorded: June 24, 1973, Baltimore, MD.

God Bless Jug And Sonny

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